Poem fractal
0.007 apart. A smaller distance means the lines are built more alike.
This number is read from the build of the lines. The bright edge is that number, carried outward until the pattern repeats.
Each poem scrolls on its own, so the two texts stay beside each other.
La tarde está muriendo
como un hogar humilde que se apaga.
Allá, sobre los montes,
quedan algunas brasas.
Y ese árbol roto en el camino blanco
hace llorar de lástima.
¡Dos ramas en el tronco herido, y una
hoja marchita y negra en cada rama!
¿Lloras?…Entre los álamos de oro,
lejos, la sombra del amor te aguarda.
Gray eyes and gold hair,
Who remembers you were fair,
When on middle earth you were
Gray Eyes?
You were half a fairy then:
Are you claimed of them again,
Now you've gone beyond my ken,
Gray Eyes?
Sailing over perilous seas,
Dreaming under rowan-trees;
Quiet heart and quiet hand,
Are you back in Fairyland,
Gray Eyes?
You were cold as winter snow
To the soul that sought to know,
Creed and whimsy old and new,
Heights and deeps and dreams of you,
Gray Eyes?
Are you kinder now my feet
Lose your track in lane and street,
For all time, O cold and sweet
Gray Eyes?
Do you wish that you could set
Me the lesson to forget
That our souls had ever met,
Gray Eyes?
Much I sowed and naught I reap,
Come and give me dreams to keep —
Be not as of old you were,
Cold as death, as void of care,
Gray Eyes?
Nay, but come without the change,
I should find the warm heart strange.
Come to me, as cold as snow —
For I loved you thus, you know,
Gray Eyes.
A fractal is a shape that keeps its pattern when you look closer. Coastlines, trees, shells, and weather do this. The large form and the small form are the same kind of thing. A poem can be drawn that way. The shape of the whole comes from the shape of the lines.
Primunia is the name for the source of that order: the pattern under the pattern, already there in a tree, a shell, and a verse.
The number under the picture is the poem constant. It is read from the build of the lines: their length, how uneven they are, the size of the stanzas, the share of vowels, and the way the lines end. A new word moves the number when it changes that build. The same poem always gives the same number.
Drawn on its own, that number sits in a quiet part of the plane, and most poems would look like the same soft disk. So the number is carried outward along its own direction until it meets the edge of the Mandelbrot set, where the shape turns sharp. The picture is the Julia set of that meeting place.
Each point on the canvas is folded again and again by one small rule. Points that stay near the rule form the dark interior. Points that rush away become the coloured bands. The hue comes from the poem constant, and the brightest bands turn toward gold. Change the length of a line, the stanza, or the vowel share, and both the number and the picture move.
Branching draws the poem as a tree. Each turn follows a line, and every smaller branch repeats that pattern. A longer line reaches farther. The letters at the start of a line bend the next turn. A higher share of vowels opens the branches wider.
The trunk takes its colour from the poem constant and warms toward gold at the tips. When the poem has more than one stanza, gold forks leave the trunk. Each fork is a stanza beyond the first, up to three. The tree divides where the poem divides. One stanza remains a single trunk.
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